Tank

A tank is a large, heavily armoured fighting vehicle with tracks and a large tank gun that is designed for front-line combat. Modern tanks are mobile land weapon platforms, mounting a large-calibrecannon in a rotating gun turret. They combine this with heavy vehicle armour which provides protection for the crew, the vehicle's weapons, and its propulsion systems, and operational mobility, due to its use of tracks rather than wheels, which allows the tank to move over rugged terrain and be positioned on the battlefield in advantageous locations. These features enable the tank to perform well in a tactical situation: the combination of powerful weapons fire from their tank gun and their ability to resist enemy fire means the tank can take hold of and control an area and prevent other enemy vehicles from advancing. In both offensive and defensive roles, they are powerful units able to perform key primary tasks required of armoured units on the battlefield. The modern tank was the result of a century of development from the first primitive armoured vehicles, due to improvements in technology such as the internal combustion engine, which allowed the rapid movement of heavy armoured vehicles. As a result of these advances, tanks underwent tremendous shifts in capability during the World Wars of the 20th century.

The series premiered in Japan on TV Tokyo from April 3 until June 26, 1998, broadcasting only twelve episodes and a special due to its controversial adult-themed content. The entire twenty-six episodes of the series were later broadcast on WOWOW from October 24 until April 24, 1999. The anime was adapted into two manga series which were serialized in Kadokawa Shoten's Asuka Fantasy DX. A film was later released to theaters worldwide.

Music video

A music video or song video is a short film integrating a song and imagery, produced for promotional or artistic purposes. Modern music videos are primarily made and used as a marketing device intended to promote the sale of music recordings. There are also cases where songs are used in tie in marketing campaigns that allow them to become more than just a song. Tie ins and merchandising could be used in toys are marketing campaigns for food and other products. Although the origins of music videos date back to musical short films that first appeared in the 1920s, they came into prominence in the 1980s when MTV based their format around the medium. Prior to the 1980s, these works were described by various terms including "illustrated song", "filmed insert", "promotional (promo) film", "promotional clip", "promotional video", "song video", "song clip" or "film clip". Since the creation and increased popularity of YouTube, mainstream artists now promote new music videos by releasing trailers of short promos on the site for their upcoming song and music video. Consequentially, YouTube has been converted into a social media platform for celebrities and artists to market themselves to their fans and audiences.

Love & Pain

The album was initially scheduled to be released in the United States on August 1, 2006, but the domestic release was postponed indefinitely for reasons not disclosed by Eamon's label, Jive Records. The album remains available in the United States only as an import.

When We Tank Choreography by Aliya Janell QueensNLettos TMillyTV

The Psychedelic Experience

Blog: http://www.aubreymarcus.com
Twitter: https://twitter.com/AubreyMarcus
Facebook: https://www.facebook.com/AubreyMarcus
Featuring music by
Tribe Called Red - Electric PowWow http://electricpowwow.com/
Strangeloop https://soundcloud.com/strangeloop
Icaros recorded live in ceremony, MaestroOrlando Chujandama - http://thenewrisingsun.wordpress.com/2010/05/12/8/
FEATURING SELECTED ART and FOOTAGE FROM SHUTTERSTOCK
STRANGELOOP // WES RICHARDSON // LAYNER MORI HUAYTA // KORB // BEN
ZFFILMS // TWO TIGERS // TOM GERAEDTS // GUY SHECHTER
// BEEPLE // SAMUEL CURTIS //GAVIN KEECH - ENTPM
FULL TEXT:
What is the psychedelic experience? Aldous Huxley believed it was the fundamental craving of the human spirit. A desire to turn off the survival biased filter of perception just for a moment... and catch a glimpse beyond the bars of our cognitive prison.
The psychedelic experience does not require drugs. Religious history and spiritual traditions are built upon these sublime moments. Messiahs hear the voice of God after a 40 day fast. Holy men, having isolated themselves in a cave, suddenly emerge with visionary truth.
But to indulge in a 40 day fast to reach this heightened state is like burning your house down to bake a loaf of bread. One hour in a salt-water isolation tank quiets the noise of sensation until awareness becomes the mirror that reveals you to yourself. A single session of holotropic breathing restricts our mental chatter long enough to plunge you into the zero-state of visionary Inspiration. Then there are the earth movers... The plant medicines at the core of many religious sacraments, which according to Graham Hancock were integral to inspiring the earliest known art in caves throughout Europe.
These plants are technologies. In a recent placebo controlled study completed by Johns Hopkins university 18 healthy adults were given Psilocybin, the active ingredient in ‘magic’ mushrooms. Fourteen months after participating in the study, 94% of those who received the drug said the experiment was one of their top five most positive experiences; 40% said it was the single most meaningful experience of their life.
Ayahuasca, long called the MasterMedicine by the healers of the rainforest, offers an experience with the most visually powerful and mysterious of all molecules endogenous to life, DiMethyltryptamine.
Iboga, the root of an African shrub, confronts you with the voice of your own inner truth for 24 waking hours and is being used to treat Heroin addiction with relapse rates reported at a shockingly low 7%.
Why doesn’t the world embrace these technologies? Terrence Mckenna has an answer, “It takes courage to take psychedelics – real courage. Your stomach clenches, your palms grow damp, because you realise this is real – this is going to work. Not in 12 years, not in 20 years, but in an hour!"
What can the Psychedelic Experience be?
The cloth that wipes clean our lens of perception,
The compass that points true north to our life’s calling,
The lantern in the catacombs of our subconscious,
The sword stroke that unfetters the muse,
The sunlight that dispels the shadows of our past
Or simply a respite of eternity, in the fast flowing river of time.
I’ve been to the other side, stared unflinching into the eyes of my eternal soul and seen a matrix of a thousand possible destinies. I’ve witnessed the span of our current universe contained in an unceasing heartbeat, each world a single bloodcell and each contraction a new existence for life itself. I’ve learned of humility on the back of a dragon, felt the terminal extreme of heaven and hell in the marrow of my bones, died and been reborn anew. What will your psychedelic experience be?
Courage to you all.
*Special thanks to Marija of Not This Body for making this vision come to life, Cory Allen for help with sound, to Jason Silva for inspiring the genre, and to all the teachers, shamans, and the spirit of the very plants themselves that have guided me along this path.

Plot: The tables have turned. The last three Zombies on Earth are hiding from an angry mob of humans, waiting to hunt them out and kill their race once and for all. The Zombies are stationed in a shack, trying to plan an escape from their impending doom. They try and work together but their differences separate them. Will they succeed? Or will the Zombie die forever?

Plot: Lenny Cole, a London mob boss, puts the bite on all local real estate transactions. For substantial fees, he's helping Uri Omovich, a Russian developer. As a sign of good faith, Omovich loans Cole a valuable painting, promptly stolen off Cole's wall. While Cole's men, led by the dependable Archie, look for the canvas, three local petty criminals, the Wild Bunch, steal money from the Russian using inside information from his accountant, the lovely Stella. Meanwhile, a local drug-addled rocker, Johnny Quid, is reported drowned, and his connection to Cole is the key to unraveling the deceits and double crosses of life in the underworld.

Quotes:

Lenny Cole: I thought you lot drink vodka.::Uri: Whisky is the new vodka.::Lenny Cole: You're not joining me?::Uri: I don't drink.

Johnny Quid: [Archie has Johnnie Quid by his lapels and backed up against the wall] Don't hurt me Arch... I'm only little!

[first lines]::Archie: People ask the question... what's a RocknRolla? And I tell 'em - it's not about drums, drugs, and hospital drips, oh no. There's more there than that, my friend. We all like a bit of the good life - some the money, some the drugs, others the sex game, the glamour, or the fame. But a RocknRolla, oh, he's different. Why? Because a real RocknRolla wants the fucking lot.

Johnny Quid: No need to worry just yet, boys. They're not going to do it while we're standing in the lift. Because then they'd have to carry the corpses to the cars, and that seems too much like hard work. In about two minutes there, Danny boy there is gonna turn and pop me two in the head, then one in the throat just to be sure. You shouldn't have brought me here, fellas, you're just going to end up as witnesses. Once they've "dealt" with us, they will put our corpses in the boot of a stolen car, then pour six gallons of petrol on the car. I'll let your imagination do the rest. Now, Danny boy here is rattled, because he knows that you know. And so, he's going to fight.::[Danny turns, but a forewarned Mickey and Roman manage to kill him and his friend]::Johnny Quid: Pass me the gun, Mickey. Quickly. QUICKLY! Don't worry, he can't defend himself, he's got no head!

Lenny Cole: He tried to poison me, that dirty Cossack!

Lenny Cole: Archie, slap him, send him to school, 'cause I can't take no more of this.

One Two: Nice shoes by the way.::Stella: Thank you. You will be able to afford a pair of your own in a couple of days.

Plot: While cleaning out their recently deceased grandfathers belongings, Brian & Jeff Chaisson inadvertently stumble upon an ancient book; one of mysterious and malevolent origin. Later that same evening, while entertaining friends during a sleepover, Jeff unveils the recent discovery in an effort to impress the group. Seizing the opportunity, the gang uses the book as a scare tactic against their favorite target and youngest member, Charlie. Succumbing to peer pressure, and the trusted reassurance of his older brother Tank, Charlie opens the book and unwittingly unleashes a malicious entity. An unseen force that has chosen to target the boys...an evil that has chosen the form 'of Darkness'.

Plot: Louie King has only ever been good at one thing -- meeting women. Hs friend Noel, who is luckless in love, starts paying Louie to teach him what he knows. Louie is so successful that more people start hearing about the class. Along the way, Louie meets Marla who teaches Feminism in the 20th Century. After Louie's ladies man credentials are challenged, he finds himself trying to get the one woman he can't have, Marla. But maybe she's judged Louie all wrong...

Genres: Comedy,
Romance,
Taglines: From Duds to Studs... one class at a time.

Plot: This epic depiction of thirty years of Chicano gang life in Los Angeles focuses on a teen named Santana who, with his friends Mundo and the Caucasian-but-acting-Hispanic J.D., form their own gang and are soon arrested for a break-in. Santana gets into trouble again and goes straight from reform school to prison, spending eighteen year there, and becoming leader of a powerful gang, both inside and outside the prison, while there. When he is finally released, he tries to make sense of the violence in his life, in a world much changed from when last he was in it.

Keywords: 1940s, 1950s, 1970s, anal-penetration, anal-rape, anal-sex, aryan-brotherhood, ass, bakery, barrioGenres: Biography,
Crime,
Drama,
Romance,
Taglines: In prison they are the law. On the streets they are the power.

Quotes:

Montoya Santana: I hear Little Puppet's name is on a piece of paper, ese.::J.D.: I want you to cosign it.::Montoya Santana: I'm taking it off, ese.::J.D.: That punk got you kicked back in the hole, set us all back. Now he's running around talking loud shit about how he wants out of La Eme. His number's up, homes.::Montoya Santana: I said I'm taking it off, ese.::J.D.: What's gonna happen is gonna happen. Don't try to stop it. You understand me? I'm asking you, carnal.::Montoya Santana: Is that where it's gotten to, ese?::J.D.: Brothers are talking about you.::Montoya Santana: What are they saying, ese?::J.D.: They're saying that you're not showing them anything.::Montoya Santana: You know, a long time ago, two best homeboys, two kids, were thrown into juvie. They were scared, and they thought they had to do something to prove themselves. And they did what they had to do. They thought they were doing it to gain respect for their people, to show the world that no one could take their class from them. No one had to take it from us, ese. Whatever we had... we gave it away. Take care of yourself, carnal.

Montoya Santana: I'm sorry to hear about Neto.::Julie: I don't know what to say to you.::Montoya Santana: Whatever, you know.::Julie: You're like two people. One is like a kid. Doesn't know how to dance, doesn't know how to make love. That's the one I cared about. But the other one, the other one I hate. The one who knows, the one who has this wrapdown, who knows how to run drugs, who kills people!::Montoya Santana: I don't have to listen to this shit, alright? If you were a man, I'd...::Julie: You'd kill me! Oh no. No, you'd fuck me in the ass, right? Right?::Montoya Santana: I guess we got nothing to say to eachother.::Julie: You know when I met you, I was impressed. Yeah, you talked about La Raza and education and the revolution, but you know what man? You really don't care about any revolution, do you? You're nothing but a fucking dope dealer.::Montoya Santana: Just a road to where we're going, esa.::Julie: Bullshit.::Montoya Santana: Sabes que? I don't do drugs, I don't even like them, but they're there, and it's a reality. And if I don't take care of that business, somebody else will.::Julie: Yeah, well, your business kills kids, man! It kills kids! Like Neto and Pablito and, and Miko, my son, who look up to you! Man, they idolize the ground you walk on!::Montoya Santana: What the fuck do you want from me? Do you want me to start over, esa? Get a job? How about become a citizen?::Julie: There's no fucking hope... for our kids, for our barrios... with people like you around.

Montoya Santana: Whatever I did to you or to mama... to make you hate me, I'm sorry.::Pedro Santana: Your mother was a beautiful woman. She made me feel proud. She was 19 years old. Raped... by sailors. After it happened, we never talked about it. Then we got married and we tried to forget. When you were born, I tried to love you. But every time I looked at you, I wondered who your real father was. I wondered which sailor's blood you carried inside of you.

Montoya Santana: You want to know something? I never been to the beach before.::Julie: For reals?::Montoya Santana: Yeah, for reals.

Montoya Santana: The state is so lame, they paid for the game.

Montoya Santana: Little Puppet!::Little Puppet: Orale!::Montoya Santana: Orale! How are you doing?::Little Puppet: Great.::Montoya Santana: It's good, ese. Called you for a little task, all right?::Little Puppet: Simon.::Montoya Santana: Now you'll do El Chucko. Want you to handle it for us, all right?::Puppet: I'll take care of it, ese.::Montoya Santana: Was I talking to you, ese?::Puppet: Santana, let me do it. Mi carnalito... that's not his thing. I mean he's no punk or nothing but...::J.D.: He's not talking to you, Puppet.::Montoya Santana: There's something I want you to understand, Little Puppet. What happened to Pie Face I didn't like it, but it was necessary, especially right now. Take a look over there, ese. El Chucko and La Nuestra Familia is making their play to get some respect, ese. La Eme took a long time earning the respect in this place. And if we wanna keep it we gotta show some class.

Puppet: Can I talk to you a minute?::Montoya Santana: Simon, ese.::Puppet: I heard about what happened. I'm sorry, Santana. Mi carnalito, he messed up.::Montoya Santana: It wasn't his fault, ese. It was all American beef. When they wanna pop you they're gonna pop you. Want some grill cheese, ese?::Puppet: No, thanks.::Montoya Santana: You sure, ese? It's good.::Puppet: People are saying it's Little Puppet's fault.::Montoya Santana: It wasn't his fault, ese.::Puppet: You know me, carnal, I'll do anything for La Eme. Anything. But I'm asking you, please, take my brother's name off.::Montoya Santana: Your brother's name is on a piece of paper, ese?::Puppet: They want me to kill him.::Montoya Santana: It's a mistake, ese. Don't worry about it. I'll take care of it. Nothing's gonna happen to your brother.::Puppet: It's good to hear, ese, it's good to hear.

J.D.: We appreciate you've taken a time to talk to us.::Don Antonio Scagnelli: What can I do for you?::J.D.: It's gonna be some changes in the way business is done in East L.A. From now on our people are gonna be responsible for the East L.A. exchange. All deliveries between Mexico and exchange are gonna be done through us, all collections are gonna be done by us.::Don Antonio Scagnelli: Is that what you came here for? To tell me my business?::J.D.: From now on your business in the barrio is gonna be our business too.::Montoya Santana: [Approaches to Don Scagnelli] Let me explain something. For you, for us, for anybody who does business, things happen. And you or your family, your friend can end up doing time. Someone on the line would have to deal with that fact. Now you run the distribution on the outside, we run on the inside. Our offer is this we guarantee your people no problems in the inside.::Don Antonio Scagnelli: You listen to me. I don't know who you think you are, but if anything and I mean anything happens to my son's stay, uncomfortable with over the years, you'll regret the day when you make that choice.

J.D.: If we show weakness now, homes, everybody's gonna see it not just the mayates and wops as La Nuestra Familia as well. They're just waiting to make their fucking move. This way we can do it clean. Do what Scagnelli did, form them shoot out.::Montoya Santana: To who?::J.D.: Aryan Brotherhood. They hate the mayates, mayates hate them and don't be a fucking thing. The AB gives the blacks message then we won't have to risk anything.::Montoya Santana: We're spending all over time dealing with the Italians and now the Black Gorilla Family, ese, instead of getting our people out and keeping them out.::J.D.: You know what,if we don't fight for this shit now,we're gonna lose it all now, homes.

Plot: 5 guys in their 20's spend most of their time hanging out in a Diner. It's Christmas time in 1959, and the guys all begin to think it's about time they went about their lives without the comfort of the 'diner'.

Keywords: 1950s, altar-boy, baltimore-colts, baltimore-maryland, beauty-parlor, bet, billiards, black-and-white-television, boyfriend-girlfriend-relationship, brother-brother-relationshipGenres: Comedy,
Drama,
Taglines: Suddenly, life was more than french fries, gravy and girls. What they wanted most wasn't on the menu.

Quotes:

Shrevie: Ok, now ask me what's on the flip side.::Beth: Why?::Shrevie: Just, just ask me what's on the flip side, OK?::Beth: What is on the flip side?::Shrevie: Hey, Hey, Hey, 1958. Specialty Records. [Beth nods blankly] See? You don't ask me things like that, do you? No! You never ask me what's on the flip side.::Beth: No! Because I don't give a shit. Shrevie, who cares about what's on the flip side about the record?::Shrevie: I do! Every one of my records means something! The label, the producer, the year it was made. Who was copying whose style... who's expanding on that, don't you understand? When I listen to my records they take me back to certain points in my life, OK? Just don't touch my records, ever! You! The first time I met you? Modell's sister's high school graduation party, right? 1955. And Ain't That A Shame was playing when I walked into the door!

Timothy Fenwick, Jr.: All I did was I parked the car on a nice lonely road, I looked at her, and I said fuck or fight.

Timothy Fenwick, Jr.: Do you ever get the feeling that there's something going on that we don't know about?

Modell: You know what word I'm not comfortable with? Nuance. It's not a real word. Like gesture. Gesture's a real word. With gesture you know where you stand. But nuance? I don't know. Maybe I'm wrong.

Billy: I'll hit you so hard, I'll kill your whole family.

Fenwick: Definitely the smile of the week!

Beth: That's very mature, Fenwick.::Fenwick: Fuck mature!

Fenwick (to Boogie): The only hand on your pecker is going to be your own!

Plot: A Vietnam vet returns home from a prisoner of war camp and is greeted as a hero, but is quickly forgotten and soon discovers how tough survival is in his own country.

Keywords: 1970s, adultery, african-american, bank, bankruptcy, based-on-novel, black-american, bookstore, bureaucracy, businessGenres: Comedy,
Crime,
Drama,
War,
Taglines: Richard Pryor is in a new kind of comedy...about some kind of hero...in some kind of mess. [USA theatrical] After 5 years a P.O.W. in 'Nam His World Has Fallen Apart [Video Australia] The Army is doing it to him in the daytime. His wife isn't doing it to him at night. And his girlfriend charges him by the hour. Richard Pryor keeps getting caught with his pants down.